<i>ΙYΓΣ, ΡΟΜΒΟΣ</i><i>Rhombus, Turbo</i>

Gow, A. S. F.

doi:10.2307/626485

Cited by 10 publications

(2 citation statements)

References 1 publication

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“…96. On the iynx-love-charm, see Gow 1934 andFaraone 1993. not have the same negative associations with lying. 97 The appearance of Peitho here typifies Pindar's use of it in association with sexuality and reciprocity markers like xenia or charis.…”

Section: Jason and Medea In Pythianmentioning

confidence: 94%

Reciprocity, Truth, and Gender in Pindar and Aeschylus

2023

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The University of Michigan Press's open access publishing program is made possible thanks to additional funding from the University of Michigan Office of the Provost and the generous support of contributing libraries. Cover illustration: Attic red figure calyx krater with the killing of Agamemnon, 460 BCE, by the Dokimasia Painter. Courtesy William Francis Warden Fund, 63.1246, Museum of Fine Arts, Boston.

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Section: Jason and Medea In Pythianmentioning

confidence: 94%

Reciprocity, Truth, and Gender in Pindar and Aeschylus

2023

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“…The bird was spreadeagled on the wheel, which was made to revolve, thereby drawing the person whom it was desired to attract. 14 In time the name of the bird was transferred to the wheel with a serrated edge, and A. B. Cook thought of it as a solar emblem; he considered that further evidence lay in the description of the judgement hall at Babylon, as noted by Philostratus where "the king gives judgement and golden wrynecks, 4 in number, are hung from the ceiling as a pledge of divine fate".…”

Section: The Wryneck In Greek Literature Mythology and Magicmentioning

confidence: 99%

Some Gold Bird Ornaments Falcon or Wryneck?

Tufnell¹

1983

Anatol. Stud.

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An enquiry which seemed simple enough at the outset, has developed alarmingly in the course of investigation and now covers a wide field which can only be briefly indicated in this note. It concerns seven ornaments in all, two of which have long been in the possession of the Rijksmuseum van Oudheden in Leiden; the other five were excavated by Sir Flinders Petrie and his staff for the British School of Egyptian Archaeology at Tell el-Ajjul, south of Gaza, between 1930–52, and are now dispersed in various museums (see Fig. 1 and Plates XXI–XXII).From the time of discovery onwards, the bird represented on the Ajjul ornaments was described as a falcon, and there seemed no reason to question it. But many years later, Miss Sylvia Benton suggested to me – on seeing the Ajjul gold ornaments – that the craftsman intended to represent a wryneck jynx torquilla. It is only recently that I have had the opportunity to explore the possibility further. This paper is the result of that enquiry. Furthermore, I would like to suggest that the bird portrayed on Tutankhamen's earrings is the same bird as on the examples found at Tell el-Ajjul, whatever that may prove to be. The authors of the catalogues accompanying the exhibition of these treasures on view in Paris (1967) and in London (1972) did not commit themselves as to the identity of the bird.

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SIMAETHA GOT IT RIGHT, AFTER ALL: THEOCRITUS, IDYLL 2, A COURTESAN'S PANTRY AND A LOST GREEK TRADITION OF HEXAMETRICAL CURSES

Faraone

2020

The Class. Q.

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Theocritus divides his second Idyll into two roughly equal sections, each punctuated by ten refrains: in the first half, a courtesan named Simaetha describes an ongoing erotic spell that she and her servant are performing and at the same time she enacts it by reciting a series of short similia-similibus incantations; in the second half, she speaks to Selene in the night sky and tells her the story of her brief affair with and betrayal by a handsome young athlete named Delphis. Literary scholars have written much about this poem, but they are more often concerned with the second, confessional half, with its complicated narrative layers and its charmingly naïve and unreliable narrator. Historians of religion and magic, on the other hand, have focussed most of their energies on the first half of the poem, using as comparanda the much later evidence of Roman-era curse tablets (katadesmoi) and late antique magical papyri to make sense of what Simaetha does and says during her long ritual, an approach that was enshrined by Gow in the middle of the last century, when he argued that, because of the conservative nature of these later magical spells, there was little risk of serious anachronism in using them for comparison.

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ΙYΓΣ, ΡΟΜΒΟΣRhombus, Turbo

Cited by 10 publications

References 1 publication

Reciprocity, Truth, and Gender in Pindar and Aeschylus

Reciprocity, Truth, and Gender in Pindar and Aeschylus

Some Gold Bird Ornaments Falcon or Wryneck?

SIMAETHA GOT IT RIGHT, AFTER ALL: THEOCRITUS, IDYLL 2, A COURTESAN'S PANTRY AND A LOST GREEK TRADITION OF HEXAMETRICAL CURSES

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